Save for the compelling oddity of seeing Michael J. Fox as a cocaine addict, this drama offers nothing special. [1 Apr 1988, p.A]

Predators, plural, starts well and ends poorly, and in the middle it's in the middle.

Not bad, not great, a little less pushy and grating than the usual.

The reason Just Wright works is simple. It finds ways to let familiar characters move around inside a familiar premise like living, breathing, likable human beings.

But once the action wanders off the playing field, "The Program" shows all the cleverness, originality and depth of the Chicago Bears' offense.

Shallow though it may be, is a breakthrough.

The movie is an odd mix of tones and styles, and the thriller plot is casually introduced, shoved aside and reintroduced. But, like all Duvall's work, Assassination Tango breathes with humanity.

There are two good things to say about The Young Black Stallion" It's beautifully shot, and it's short.

Muddles through as a film so uninterested in character, it doesn't bother assigning names to them.

A bit of a tweener, neither triumph nor disaster, a war-games fantasy with a use-by date of Nov. 22, when the new "Hunger Games" movie comes out.

A packed convention of contemporary cliches. [31 Jan 1986, p.J]

No one member of the ensemble cast stands out, though one member stands effectively outside it - cult director Sam Raimi, of the "Evil Dead" series, doing a hilariously deadpan Jerry Lewis imitation as Stick, the camp's addled handyman. Just what Raimi is doing in the film is a mystery explained only by the press notes: turns out that Binder and Raimi are old Tamakwa campmates. [23 Apr 1993, p.C2]

Director Ardolino and his unnamed colleagues should be given a couple of swift raps across the palm with a ruler.

The Gentlemen is so blinkered by its outdated (and often offensive) alpha male perspective that it's blind to the elements that could have made it great.

It's all very "Scarface"--the De Palma remake of "Scarface," not the Hawks original. In other words, it doesn't feel modern at all. It feels about a generation late and 400 years short.

This is a better movie than the vacuous "Insurrection," thanks largely to a sympathetic screenwriter, longtime "Trek" fanatic John Logan ("Gladiator"), and a crew (headed by Patrick Stewart's Capt. Jean-Luc Picard and Brent Spiner's android Data) determined to go out in glory.

For awhile, the stately symphonic score, urbane setting and understated dress make Birth feel powerful--until it feels empty, lacking what Glazer so furiously exhibited in his equally stylized freshman endeavor: heart.

I liked the movie mainly for Barrymore. The way she handles the crucial, early "I love you" moment (he's saying it to her, and the camera shows us what she's thinking), you think: This is one canny actress.

What a vivacious-looking, tartly-scored bore of a movie.

The kind of fascinatingly bad film only a really gifted and fearless moviemaker could make: a 92-minute long raggedy-raunchy vision of sex, transit and alienation in which Gallo focuses on himself so obsessively, it's as if he'd become his own stalker.

Welcome to the world of Ellie Parker, a faux-documentary and big, fat raspberry dedicated to L.A.'s underclass.

Hunnam’s reliably charismatic in suffering and in joy, but with most of the political and wartime context shaved off the story, once again, we’re left with the basics.

I didn't laugh much, nor did my 10-year-old companions, but nobody had their soul crushed by the experience. This is the film industry's Hippocratic oath: First, crush no souls.

The Favor is a sex comedy without sex-and pretty much without comedy. [29 Apr 1994]

The pacing and staging of the later scenes could use a little more electricity and momentum, and a little less restraint. Yet The Night Listener keeps you watching. And listening.

With scanty and thin characterization and a twist you can see coming from miles away, 21 Bridges just doesn't make it all the way to the other side.

Cameo appearances by everyone from James Franco (as Hugh Hefner, putting the moves on Lovelace at her own premiere) to Hank Azaria (as a film "investor") dot the grimy landscape.

I don’t know if this was due to the budget or COVID, but Marry Me feels small in ways that a big commercial rom-com frequently doesn’t and maybe that’s why you can’t fully shake the feeling that this Universal Pictures project is really just a marketing scheme cooked up to highlight Lopez’s real-life music career and some NBCUniversal properties, including the frequent cutaways to a decidedly unfunny Jimmy Fallon, which may be, ironically, the movie at its most honest.